My practice is characterized by the fact of combining craftsmanship and reflection; the intersection of crafts with conceptual procedures. I establish a personal mode, but not necessarily intimate. I develop my own techniques, which are generally homemade, mixing everyday and austere objects with more professional materials. I am interested in copy and reproduction. I explore the involuntary doing. I like that everything gets confused, upset, deformed or funny.
During the last few years, my work has been cut acrossed by my interest in Argentine painting, on my questioning of why this practice occupies such an important place in the history of art in our country, almost without being permeable to other forms of making art. Through conceptual procedures, I copy, cut, draw, underline or give volume to fragments of this story, which at the same time intersects with my personal history, my daily life, my parallel work as an illustrator, mi interest in art brut, and the influences of conceptual art and arte povera perceived during my 7 year stay in France.
Aspiring to generate a dislocated and panoramic image of almost a century of tradition, I create a parallel narrative outside the historical canon, where figuration and abstraction are mixed.